Podcast appearances and mentions of Jim Dawson

A Maidstone mum who punched her neighbour 20 times following a row about loud music has avoided prison...Amie Bray, 31, was living in shared accommodation on Randall Street when she carried out the attack on another woman in November 2023.The man who oversees the police in Kent has published his four year plan.Crime commissioner Matthew Scott says he wants to cut crime, support victims and build trust.Kent tourism bosses have told us their campaign to get international trains stopping in the county isn't over.That's despite news Sir Richard Branson's Virgin Group have been given the green light to run services through the Channel Tunnel. We've been speaking to Jim Dawson from Visit Kent.A hard hitting campaign urging us not to stray onto railway lines in Kent has been launched.Network Rail have teamed up with British Transport Police as stats show more than half of us in the south east don't know about the electric rail.The boss of a Kent animal sanctuary is urging people to think twice before getting a rabbit - as she's overrun with abandoned ones.20 are currently being looked after at the Lord Whisky charity near Canterbury - hear from Margaret Todd who founded it.And in sport,  it was another draw for Gillingham last night in their game against Colchester United.The match at Priestfield ended 1-1 after Max Clark levelled from the penalty spot in the second half.

The ambulance service has apologised after a Canterbury man with a fractured eye socket had to get a taxi to hospital.Lee Newman had been out clubbing with friends at Club Chemistry and was attacked as he walked home.Also in today's podcast, a Canterbury woman who killed her husband then hid his body in their garden has been convicted of murder.A court heard Jeremy Rickards had suffered injuries from weeks of domestic abuse before he was killed last summer. Hear the moment his wife was arrested and from police who's spoken outside court.Two children's centres in Kent that were facing closure have been saved by a last minute U-turn from the county council.Seashells in Sheerness and Millmead in Margate were under threat as KCC looked to save money in order to balance their budget.As part of English Tourism Week, the KentOnline Podcast has been hearing how the sector in Kent is almost back to pre-pandemic levels.It's an industry that creates nearly 80,000 jobs and generates £4 billion for the local economy. We've been chatting to Jim Dawson from Visit Kent.Dog owners have made complaints to the National Trust after their pets were banned from a café in Dover.The policy at the White Cliffs of Dover visitor centre was introduced because customers reported having food stolen and being disrupted by barking.A Whitstable and Herne Bay version of Monopoly has launched today.The game features local landmarks including Whitstable Harbour and Herne Bay Pier, as well as Tankerton Slopes and the Oyster Bay Trail.And in sport,  it's a trip to Accrington Stanley for Gillingham in league two this weekend.Both sides have had a similar run of form this season with the Gills 19th and the home side two places below.

"High time we made a standAnd shook up the views of the common manAnd the love train rides from coast to coastDJ's the man we love the mostSowing the seeds of love, seeds of love(Sowing the seeds of loveSowing the seeds of love, seeds of loveSowing the seeds"Please join me and sow the seeds of love on the Red Eye Edition of Whole 'Nuther Thing. Joining us are David Bowie, Jim Dawson, Buffalo Springfield, Orleans, King Crimson, Van Morrison, The Hollies, Crosby Stills & Nash, Emerson Lake & Palmer, Arthur Lee & Love, The Beatles, Bee Gees, Jean Luc Ponty, Larry Coryell, Deodato, Simon & Garfunkel, Yes, The Everly Brothers, Beach Boys, John Klemmer, The James Gang, Jeff Beck, Sounds Orchestral, Jimii Hendrix Experience, Jefferson Airplane and Tears For Fears...

Jim Dawson owns Synergy Sign & Graphics in Strasburg, OH. From humble beginnings in his basement 20 years ago, he has built a business that thrives on challenges and innovation. In this podcast, he shares his experiences with creative architectural signage.##-##This episode is sponsored by:GCI Digital Imaging Your partner for large/grand format trade printing. Known for exceptional customer service, GCI Digital Imaging is the go-to for banners, coroplast signs, vehicle wraps, and other digitally printed graphics. Discover more in Episode #9 or visit https://gci-digital.com.Jaco Wholesale Sign ProductsLooking to enhance your clients' impact and boost your profits with flat-cut acrylic letters and logos? Jaco Wholesale Sign Products delivers laser-cut acrylic letters and signage with quick turnaround times and excellent communication. They offer a wide range of mounting options, Pantone matching, several acrylic thicknesses, and nationwide shipping. Visit https://sign.supply/bss/ for a quote and $50 off your first order.##-##Links:Dan Sawatzky Episode: https://youtu.be/QHOBWzf-5QYSynergy Signs Instagram: https://www.instagram.com/synergy_signs/##-##Key Points Discussed:- Business and Personal life: Jim shares his business and personal life and how he and his wife manage it all together.- Jim's Journey: Jim shares his journey and how he ended up with signage from an animator and cabinet shop. -Architecture Projects: Jim shares with us his amazing architecture Projects and shows us the workflow of working with architecture Projects.-Client Expectation: We dive deep into this conversation, discussing the importance of knowing and fulfilling clients' expectations and how to let clients know what we expect from them.- Pricing Methods: Jim discusses his pricing method and how he decides or adjusts his pricing and profit margins.- Changes in the industry: We discuss the positive and negative aspects of the industry's changes and how they will affect the market and the future of signage. -Jim's Workshop: Jim talks about his workshop, which they conduct a few times per year. Y http://www.synergysign.com/sign-alchemy-workshops/-Sign Shop School: Jim and Peter discuss their future plan to open a sign shop school and give back to the industry.##-##In this episode...00:00            Intro00:38            Sponsor01:27             Catching Up04:40            Winning a Lottery09:12             About Jim10:25             Working with Wife13:55             From Animator to cabinet shop to signage19:12              The Progression.22:12             Storefront walk-in traffic28:07             Inflection Point 31:12              Jim's architecture projects   33:12              Fulfilling Client Expectations36:25             90-day Terms38:18              Equipments43:20             Fire Prevention46:02             Workflow with architecture Projects.52:30             Pricing Method57:05             Changes in the Industry01:02:42        Jim's Workshop01:12:12          Sign Shop School##-##Are you a sign or print shop owner?Join the Better Sign Shop Community - our exclusive Facebook group for shop owners and managers. Connect and learn from peers at https://www.facebook.com/groups/bettersignshopmastermind.Interested in being a guest on the show or have questions for our team? Reach out to us at hey@bettersignshop.com.

Show Notes: https://wetflyswing.com/598 Presented By: Stonefly Nets, Jackson Hole Fly Company, Skwala, Togens Fly Shop Sponsors: https://wetflyswing.com/sponsors In this episode, we dive into the rich history of the Golden Gate Casting Club with Jim Dawson, the club's resident historian. Discover the revolutionary impact of a young orphan who reshaped fly casting technology, linking his innovations directly to the tech you use today, like your iPhone. Jim shares captivating stories from the club's past, including tales about legendary figures like Jimmy Green, whose techniques and inventions propelled fly fishing into the future. Tune in to uncover the roots of modern fly casting and get inspired by the techniques that top anglers have used to dominate the sport. Episode Chapters (0:00:05) – Introduction to the Golden Gate Casting Club Exploring the connection between historical casting champions and modern fly casting technology, with an introduction to the episode's focus on the Golden Gate Casting Club. (0:02:13) – The Legacy of Jim Dawson and the Casting Club Jim Dawson discusses the historical significance of the club and its impact on fly casting competitions and innovations in the United States. (0:03:36) – The Innovations of Jimmy Green A deep dive into how Jimmy Green's innovations in rod and line design have influenced modern fly fishing, including anecdotes about his life and contributions. (0:07:22) – Mono Running Lines and Their Origin Discussion on the origins and development of mono running lines at the Golden Gate Casting Club and their impact on fly fishing technology. (0:10:45) – The Role of the Golden Gate Casting Club in Modern Fly Fishing Jim elaborates on the club's role in shaping the practices and technologies used in contemporary fly fishing, including spay casting. (0:15:00) – Evolution of Fly Casting Techniques and Competitions Insights into the evolution of fly casting techniques and the structure of modern casting competitions, highlighting the club's ongoing influence. (0:19:55) – Historical Anecdotes and Guest Stories Jim shares memorable stories from past club members and significant events that have marked the club's history. (0:23:38) – The Intersection of Technology and Fly Fishing Discussion on how advancements in technology have intertwined with fly fishing practices, featuring stories about Apple co-founder Steve Wozniak. (0:27:04) – Q&A: Insights into Fly Casting and Conservation Listeners ask questions about fly casting techniques and conservation efforts related to fly fishing, with Jim providing expert answers. (0:30:15) – Closing Thoughts and Future of Fly Fishing Jim reflects on the future of fly fishing and the role of innovative thinking in sustaining the sport's growth and ecological responsibility. Show Notes: https://wetflyswing.com/598

SummaryIn this episode, Cherry and Morgan discuss the mysterious case of Jim Dawson, a farmer who was shot and later died from his injuries. The investigation takes a turn when it is discovered that the bullet was homemade and likely shot from a catapult. The locals in the small village of Bashall Eves are reluctant to talk about the case, leading to various theories, including mistaken identity and a jealous husband. The case remains unsolved, and the village continues to keep silent about the events. The murder of Jim Dawson remains unsolved after over 80 years. The conversation explores various theories and speculations surrounding the case. One theory suggests that Jim may have been mistaken for someone else, possibly Tommy Simpson, who had a conflict with another person named Tommy. The conversation also discusses the possibility of a youth being involved in the shooting, with Jim possibly knowing the identity of the culprit. The villagers' refusal to talk about the murder suggests that they may be protecting someone, possibly a child who made a terrible mistake. The conversation concludes with a discussion about a dumb criminal who taped fish to ATMs in Utah.TakeawaysCrimeCon London is an immersive true crime experience featuring sessions with renowned experts.Jim Dawson, a farmer, was shot and later died from his injuries in the small village of Bashall Eves.The bullet was homemade and likely shot from a catapult, leading to theories of mistaken identity and a jealous husband.The locals in Bashall Eves are reluctant to talk about the case, adding to the mystery surrounding Jim Dawson's death.Chapters00:00 Introduction and CrimeCon London03:30 Unusual Case: The Murder Witness07:57 The Location: Bashall Eves09:08 Jim Dawson's Last Night12:22 The Mysterious Shooting19:16 The Unusual Bullet22:48 Jim Dawson's Death25:23 Theories and Locals' Silence38:33 The Mystery of the Dog39:58 Speculations on the Culprit41:27 Tommy Kenyon's Theory42:20 Protecting the Culprit43:19 Jim's Knowledge of the Culprit44:21 No Enemies, No Issues45:16 A Prank Gone Wrong46:38 The Target Practice Connection48:31 Protecting the Culprit49:19 The Culprit's Identity50:27 Unsolved Mystery51:56 Interest in the Case52:53 Dumb Criminal: The Fish BanditMusic: The Day After Tomorrow by Sascha EndeWebsite: https://filmmusic.io/song/412-the-day-after-tomorrowLicensed under CC BY 4.0: https://filmmusic.io/standard-license

"I am just a poor boy, though my story's seldom toldI have squandered my resistance for a pocketful of mumblesSuch are promises, All lies and jestStill, a man hears what he wants to hearAnd disregards the restLie-la-lie.."Please join me for this weeks Musical Adventure on the Red Eye Edition of Whole 'Nuther Thing. Joining us are Nick Drake, JJ Cale, Jim Dawson, Tufano & Giamerese, Love, Spanky & Our Gang, Phoebe Snow, Savoy Brown, Sly & The FamilyStone, Lou Reed, Mamas & Papas, David Bowie, Jose Feliciano, Jethro Tull, Fleetwood Mac, Mott The Hoople, Johnny Rivers, Oliver Nelson, Tim Buckley, Python Lee Jackson, Tim Hardin, John Prine, Janis Ian,  Leonard Cohen, Therese Schroeder-Sheker and Simon & Garfunkel.

I first heard of the movie Blackboard Jungle while reading Derek Thompson's Hit Makers: The Science of Popularity in an Age of Distraction. The film is most remembered today for opening with the song Rock Around the Clock by Bill Haley & His Comets, which set off the rock and roll revolution and everything that came after it. Blackboard Jungle is a story mostly told through the perspective of an inner-city teacher named Richard Dadier, and serves as a way to showcase what at the time was considered urban dysfunction among teenage boys. Here's how Thompson describes the significance of the film and its opening track.“The breakout success of ‘Rock Around the Clock' had everything to do with its placement at the beginning of the film Blackboard Jungle,” said Jim Dawson, author of Rock Around the Clock: The Record That Started the Rock Revolution. The reaction to Blackboard Jungle was something like hysteria — not just among teenagers, but also among their parents and politicians. Kids danced in the aisles of movie theaters and blasted the song from their cars. On May 17 1955, the Philadelphia Inquirer reported that Princeton University dorms held a competition to play the song as loudly as possible from their rooms. Around midnight, the students emptied into the quads, set fires to trashcans, and chanted up and down the streets. Meanwhile, several major American cities censored the film. The mayor of Memphis forbade teenagers to see it, while Atlanta tried to ban the movie after an alderman's wife said it threatened the “peace, health, morals, and good order of this city.”Just as l'affaire Caillebotte consecrated impressionism through scandal in the 1890s, Blackboard Jungle's notoriety promoted its opening track, unleashing the rock-and-roll genre. On July 2, 1955, three months after Blackboard Jungle debuted, “Rock Around the Clock” became the top-selling single in the country and the first song called “rock 'n' roll” to reach number one on the Billboard charts, ultimately selling more physical copies than any song by Elvis Presley, the Beatles, Madonna, or Michael Jackson.One of the laws of chaos is that a microscopic change in the present trajectory can lead to wildly different future outcomes; the Brazilian butterfly shakes her wings, and a Pacific typhoon forms off the coast of Indonesia. The most popular melodies of 1954 and 1955 were dulcet waltzes next to the high-tempo hits of the later 1950s. Billboard's number one songs before and after “Rock Around the Clock” were the schmaltzy “Unchained Melody” and the minstrel ballad “Yellow Rose of Texas,” which sounds like it could have been written in the 1850s.Could what's implied here possibly be true? That one song placed at the start of one film changed everything about music and ultimately led to a seismic shift in American culture, with implications for everything from education and crime to family formation? The possibility boggles the mind, but I can't totally dismiss the idea. One thing I knew for sure after reading the passage above was that I needed to see this movie.After tackling some deep questions about the causes of historical events and how contingent they might be, Rob and I focus on how race and gender issues are portrayed in the movie. On race, the film seems practically modern. Some themes and tropes that wouldn't have been out of place in the 1990s or 2000s include: the middle-class professional being horrified at being accused of racism; the black kid having a good heart while only the white kid can be portrayed as pure evil; and the way that racial differences are downplayed in a social context. This last point is particularly striking, as a group of lower-class white boys has no racial consciousness at all, and for all practical purposes the young men treat their black and Hispanic classmates like they do anyone else. When it comes to relations between the sexes, however, one sees the 1950s as a completely different universe. It is considered completely normal for the main female character to care primarily about her looks and keeping her husband happy. Overall, we see a great deal of stagnation in American culture on race, alongside radical changes in how men and women relate to one another. While the movie's portrayal of male-female relations lines up with popular propaganda about the 1950s, I found myself shocked at the difference between how that decade is commonly described and what was shown in this film. Surely, movies don't perfectly reflect reality, but the fact that this particular representation of race relations was plausible to an audience of that time is surely worth noting. This experience has made both of us to want to watch other old films in order to have a more direct understanding of the cultures of past eras. Very little can be simply taken for granted.Listen here or watch on YouTube. Get full access to Richard Hanania's Newsletter at www.richardhanania.com/subscribe

The long-standing problem of estimating the age and sex of subadult skeletal remains has been significantly "solved" with the advances in understanding the growth and development patterns in the skeletons of young people. This is the second half of the conversation with Kyra Stull, an anthropologist and forensic researcher at University of Nevada, Reno, Danielle McLeod-Henning, a physical scientist at NIJ, host Jim Dawson. Read the transcript.Listen to part one.Reading and Resources from NIJ:Meeting the Forensic Challenges of Subadult SkeletonsInvestigation of subadult dental age-at-death estimation using transition analysis and machine learning methodsA Radiographic Database for Estimating Biological Parameters in Modern SubadultsOther Resources:Subadult Virtual Anthropology Database from the University of Nevada, Reno

The long-standing problem of estimating the age and sex of subadult skeletal remains has been significantly "solved" with the advances in understanding the growth and development patterns in the skeletons of young people. Kyra Stull, an anthropologist and forensic researcher at University of Nevada, Reno, and Danielle McLeod-Henning, a physical scientist at NIJ, share more about this research with NIJ writer and host Jim Dawson.Reading and Resources from NIJ:Meeting the Forensic Challenges of Subadult SkeletonsInvestigation of subadult dental age-at-death estimation using transition analysis and machine learning methodsA Radiographic Database for Estimating Biological Parameters in Modern SubadultsOther Resources:Subadult Virtual Anthropology Database from the University of Nevada, Reno

In his gritty '55 flick BLACKBOARD JUNGLE, director Richard Brooks introduced a wide audience to Sidney Poitier, the harsh world of inner-city schools...and a genre of music called "rock ‘n' roll."Host Rico Gagliano tells the story of Bill Haley's "Rock Around the Clock"—cinema's first rock needle drop—with the help of music detective and author Jim Dawson, film writer Anna Ariadne Knight, and actor Peter Ford...the Hollywood kid who may have accidentally started the rock-n-roll era.The third season of the MUBI Podcast, titled “Needle on the Record,” dives into the unifying power of movie music and tells the stories behind some of cinema's most renowned “needle drops”—moments where filmmakers deployed pre-existing music instead of an original score. Each episode explores an iconic marriage of song and image that's become part of pop culture. It's a six-part mixtape for film lovers.Check out our film collection Turn It Up: Music on Film, featuring a selection of eclectic music films, from concert docs to music-rich feature films. This includes Andrew Dominik's ONE MORE TIME WITH FEELING, streaming now nearly globally.And to stream some of the films we've covered on the podcast, check out the collection Featured on the MUBI Podcast. Availability of films varies depending on your country.MUBI is a global streaming service, production company and film distributor dedicated to elevating great cinema. MUBI makes, acquires, curates, and champions extraordinary films, connecting them to audiences all over the world. A place to discover ambitious new films and singular voices, from iconic directors to emerging auteurs. Each carefully chosen by MUBI's curators.

The scientific basis of several aspects of forensic evidence was first called into question by the 2009 National Research Council report. That report had an immediate impact on law enforcement, crime labs, courtrooms, and the broader scientific community. David Stoney, Chief Scientist and head of Stoney Forensics in Chantilly, VA, and Greg Dutton, program manager and physical scientist with NIJ's Office of Investigative and Forensic Sciences, join host Jim Dawson to discuss the concerted effort in many fields of forensics — ballistics, trace evidence, fingerprints, and more — to improve the science underlying forensic evidence in the wake of the 2009 report. Read the transcript.Listen to Part One of the conversation. Research and Resources from the National Institute of Justice:Strengthening Forensic Science in the United States: A Path Forward (2009 NRC report)The Slow but Steady March Towards a More Reliable Forensic ScienceOther Resources:The Organization of Scientific Area Committees for Forensic Science (OSAC)

The scientific basis of several aspects of forensic evidence was first called into question by the 2009 National Research Council report. That report had an immediate impact on law enforcement, crime labs, courtrooms, and the broader scientific community. David Stoney, Chief Scientist and head of Stoney Forensic in Chantilly, VA, and Greg Dutton, program manager and physical scientist with NIJ's Office of Investigative and Forensic Sciences, join host Jim Dawson to discuss the concerted effort in many fields of forensics — ballistics, trace evidence, fingerprints, and more — to improve the science underlying forensic evidence in the wake of the 2009 report. Read the transcript.Listen to Part Two of the conversation. Research and Resources from the National Institute of Justice:Strengthening Forensic Science in the United States: A Path Forward (2009 NRC report)The Slow but Steady March Towards a More Reliable Forensic ScienceOther Resources:The Organization of Scientific Area Committees for Forensic Science (OSAC)

Gregory Dutton, a physical scientist at NIJ, and science writer Jim Dawson continue their conversation on the microbiome: what it is, how it applies to forensics, and the evolution of its role in forensic science. Read the transcript. Listen to the first half of Jim and Greg's microbiome discussion. This podcast episode was produced by and discusses the work of the National Institute of Justice, Office of Justice Programs, U.S. Department of Justice.Reading and Resources from the National Institute of JusticeThe Forensic Microbiome: The Invisible Traces We Leave Behind NIJ-sponsored forensic microbiome researchNIJ website

Gregory Dutton, a physical scientist at NIJ, joins science writer Jim Dawson to discuss the microbiome: what it is, how it applies to forensics, and the evolution of its role in forensic science. Read the transcript.This podcast episode was produced by and discusses the work of the National Institute of Justice, Office of Justice Programs, U.S. Department of Justice.Reading and Resources from the National Institute of JusticeThe Forensic Microbiome: The Invisible Traces We Leave Behind NIJ-sponsored forensic microbiome researchNIJ website 

In the US, it's supposed to be “innocent until proven guilty,” but it's a routine part of our criminal legal system to imprison people while they await trial, causing them to lose their jobs, housing, access to transportation and more. This is a problem across America, and we've covered it extensively on RANGE (see links below), but here's a new wrinkle, courtesy of our friends at InvestigateWest. Whether or not you get access to pretrial services, which often requires home monitoring, drug testing and other costly programs, largely depends on the jurisdiction you're in. Some counties have no services at all. In others, the defendant is responsible for the cost of those services — such as ankle monitors, which can run $500 per month — effectively keeping the most destitute people in jail.  Even in counties where services are offered, the costs can be drastically different depending on what part of the county you're arrested in. That's the situation in Spokane, where getting arrested in the City of Spokane gives defendants free access to many more services than people arrested for the same crime in other parts of the county.  We talked to Wilson Criscione, a reporter from InvestigateWest, who covered this issue extensively in the first article for their project called “https://www.invw.org/justice-by-geography/ (Justice by Geography).” In it, he told us the story of Amber Letchworth, a Washington woman who was pulled over and arrested after a police officer found a dirty baggy containing meth on her car floor.  She couldn't pay for bail, so while waiting in jail for the next few weeks, she lost her home and access to a car. She pleaded guilty to felony drug possession in an effort to get out of jail sooner. But she still left jail homeless and lost her financial aid for college because of her felony record.  Amber had been mourning the death of her grandmother and was not in a good place. On paper, she was a good candidate for pretrial diversion, but no diversion took place, and she spiraled, for a time, to an even darker place. Had she been diverted to mental health or addiction treatment, her arrest may not have started her on a path to drug and alcohol addiction, homelessness, and more arrests.  There are two bitter ironies in this case, one personal, one systemic: The drug charge that set this whole chain of events in motion has since been vacated after State v. Blake — a State Supreme Court decision last year that https://www.nwpb.org/2021/12/03/washington-supreme-court-state-vs-blake-drug-possession-law-payments/#:~:text=State%20Vs%20Blake%20is%20a,to%20charges%20related%20to%20distribution. (ruled Washington's simple possession law  unconstitutional).  But the real kicker is that Asotin County is one of the counties that actually HAS pretrial services — on paper anyway — but the program administrator had retired and the remote, rural county hadn't been able to find a replacement.  This story is crucial as we examine the disproportionate effects of our criminal legal system and what can be done to lift more people out of it. Wilson and Luke talk about the current patchwork system of pretrial services in Washington and how they play out differently in Spokane compared to the rest of Spokane County.  Read the full story, republished with permission from InvestigateWest, https://www.rangemedia.co/spokane-justice-geography-washington-pretrial-services-jail-trial/ (here). Previous Coverage of Pre-Trial Inequalities: https://www.rangemedia.co/episode-010-independence-day-1c2/ (EPISODE 010 | Independence Day) https://www.rangemedia.co/episode-011-independence-day-cont-6c1/ (EPISODE 011 | Independence Day (cont)) https://www.rangemedia.co/episode-025-no-new-jail-feat-jim/ (EPISODE 025 | No New Jail feat. Jim Dawson) https://www.rangemedia.co/and-justice-for-some-feat-cam-zorrozua/ (And Justice for Some feat. Cam Zorrozua & Virla Spencer) References: ...

Menu is complete with no leftovers, just great fresh tunes from James Lee Stanley, John Batdorf, Jim Croce, Jim Dawson, Chielli Minucci, Moody Blues, Yes, Joni Mitchell, Jeff Beck, Van Morrison, Rolling Stones, Kansas, Aretha Franklin, Beatles, CSN&Y, Pat Metheny, Jean Luc Ponty, America, Bert Jansch & Judy Collins.

Jim Dawson is the President of Heidolph North America. Heidolph is a leader in the production of premium laboratory equipment for the scientific research industry in more than 100 countries worldwide. At Heidolph North America, Jim and his team provide dedicated customer service, shipping logistics, technical support, and sales management to the US and Canadian laboratory market. Prior to joining Heidolph North America, Jim was the Executive Director for Brinkmann Instruments. He received his MBA in Finance from Indiana Wesleyan University and his BS in Chemical Engineering from The Ohio State University. In this episode… How has your team navigated the switch to virtual work over the past year? Do your customers trust you—and do you trust them? Can they rely on you to show up with authenticity and cultivate a healthy culture in 2021 and beyond?  If 2020 has taught us anything, it is that the ability to pivot in an uncertain situation is an essential skill for leaders and employees alike. After navigating the many challenges of the past year, Jim Dawson, the President of Heidolph North America, has discovered the secret to maintaining culture while growing a business in 2021: transparency. By staying transparent with his clients and employees, Jim has built a stronger team and company going into the new year.   In this week's episode of Level Up, host Nick Araco sits down with Jim Dawson, the President of Heidolph North America, to discuss how to cultivate a healthy work/life balance, open communication, and transparency in a virtual workplace. Jim reveals how he marries innovation and engineering in his business processes and shares his strategies for promoting wellness in his company. Stay tuned.

In this week’s episode we take a brisk 30-minute jaunt through some new polling data that confirms, yep, the rest of Spokane County wants a jail about as badly as we do — which is to say: NOT. AT. ALL.This is our official photo illustration for all our jail posts from now onIt’s encouraging news for everyone from reformists to prison abolitionists to get this sort of poll result in a Republican-leaning county like Spokane. But the real kicker is when the pollsters asked people if they’d vote to raise their taxes in order to fund addiction treatment and homelessness services. For the answer to that question, you’ll have to listen.Past No Jail ContentSpokane let people out of jail. Crime went down | RANGEEPISODE 010 | Independence Day feat. the Bail Project | RANGEEPISODE 011 | Independence Day (cont) | RANGEFurther Perusing:Spokane County officials revisit plans for a new jail | KREMChange Research | The pollstersFuse Washington | The org that paid for itGoofsFetch!Cool people support RANGE Get full access to RANGE at www.rangemedia.co/subscribe

Tax – for many of us, it can be a word that strikes fear into the heart of our businesses! Global tax is a complex area of expertise, that often isn’t linked as closely as it should be to operations and decision-making. Enter Global Tax Focus. Their goal is to help you see the global landscape of an enterprise by focusing on the intersection of operations and tax. They partner with an international team of deep technical business and tax specialists, bringing the latest in global thought leadership, to help you to identify where business and tax efficiencies can be achieved, by focusing on cross-border transactions, business structure, and reducing both tax and operating costs. Today I’m joined by Jim Dawson of Global Tax Focus to talk more about the implications of tax on many different areas of business, why being pro-active with tax is so beneficial, and why tax and supply chain professionals need to collaborate to ensure their voices are heard. IN THIS EPISODE WE DISCUSS: [9.22] Jim’s background in international tax, and the tax implications on supply chain. [11.20] How Jim helps owner-managed or family-owned middle market companies to understand and manage their tax implications, now and in the future. “If you start making decisions to move assets, people and risk around the world, those aren’t decisions to be entered into lightly.” [16.02] How recent tax changes disrupted the market, and the impact of that on nearshore and offshore investment, income and processes. [24.15] Jim’s top 5 pieces of advice for the supply chain community on exactly how taxes should feature within their strategies. “For most companies, taxes represent 20% of the cost reported on an income statement – so it’s very important that, in order to reduce that amount, supply chain professionals work collaboratively with the accounting/tax department.”     [29.18] The benefits of free trade zones. [31.58] A real-life example of how Jim is helping a client navigate current challenges and market changes. [35.55] Jim’s thoughts on the idea that tax advantage is a business solution rather than a supply chain solution. “Tax should never way the dog’s tail – it should be what’s best for the company from an operation perspective, and then overlay tax on top of it.” [38.17] An overview of transfer pricing. [43.09] The future for Global Tax Focus Head over to Global Tax Focus’ website now to find out more and discover how they could help you too, or connect with Jim Dawson on LinkedIn. Check out our other podcasts HERE.

We are back with episode 9, our review of NPL Capital Football Round 3! Russ Gibbs returns as well! Time allocations and segments are down below: NPL 1 0:41 - Tuggeranong United Football Club vs Canberra Olympic Football Club Interview with Robbie Cattanach 4:22 - Canberra Olympic Football Club vs Monaro Panthers FC 8:38 - Tuggeranong United Football Club vs Woden-Weston Football Club Interviews with Mitch Stevens and Ulisses da Silva 17:45 - Gungahlin United Football Club vs Belconnen United Blue Devils 23:03 - Tigers FC NPL1 vs Canberra Croatia FC NPLW: 29:19 - Wagga City Wanderers vs Canberra Olympic Football Club 31:37 - Gungahlin United Football Club vs Monaro Panthers FC 36:16 - Tuggeranong United Football Club vs Belconnen United Blue Devils 41:50 - Woden-Weston Football Club vs Canberra United Football Club Academy Interviews with Mark Boyd and Scott O'Donnell 49:39 - Announcement of new Canberra United Football Club coach Vicki Linton. NPL 2: 51:50 - Wagga City Wanderers vs Brindabella Blues Football Club (BBFC) 53:52 - Weston Molonglo Football Club vs ANU Football Club Interviews with Jim Dawson and Ned Jeanes 1:02:32 - Queanbeyan City FC vs Canberra White Eagles 1:07:03 - Yoogali Soccer Club NPL2 vs O'Connor Knights SC

Episode ninety-one of A History of Rock Music in Five Hundred Songs looks at "The Twist" by Chubby Checker, and how the biggest hit single ever had its roots in hard R&B. Click the full post to read liner notes, links to more information, and a transcript of the episode.   Patreon backers also have a ten-minute bonus episode available, on "Viens Danser le Twist" by Johnny Hallyday, a cover of a Chubby Checker record that became the first number one for France's biggest rock star.   Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/   Also, people have asked me to start selling podcast merchandise, so you can now buy T-shirts from https://500-songs.teemill.com/. That store will be updated semi-regularly.   ----more----   Resources   As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode.    Much of the information in this episode comes from The Twist: The Story of the Song and Dance That Changed the World by Jim Dawson.    This collection of Hank Ballard's fifties singles is absolutely essential for any lover of R&B.   And this four-CD box set contains all Chubby Checker's pre-1962 recordings, plus a selection of other Twist hits from 1961 and 62, including recordings by Johnny Hallyday, Bill Haley, Vince Taylor, and others.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them?   Transcript   Today we're going to look at a record that achieved a feat that's unique in American history. It is the only non-Christmas-themed record -- ever -- to go to number one on the Billboard pop charts, drop off, and go back to number one again later. It's a record that, a year after it went to number one for the first time, started a craze that would encompass everyone from teenagers in Philadelphia to the first lady of the United States.   We're going to look at Chubby Checker, and at "the Twist", and how a B-side by a washed-up R&B group became the most successful record in chart history:   [Excerpt: Chubby Checker, "The Twist"]   One of the groups that have been a perennial background player in our story so far has been Hank Ballard and the Midnighters. We talked about them most in the episode on "The Wallflower", which was based on their hit "Work With Me Annie", and they've cropped up in passing in a number of other places, most recently in the episode on Jackie Wilson. By 1958, though they were largely a forgotten group. Their style had been rooted in the LA R&B sound that had been pioneered by Johnny Otis, and which we talked so much about in the first year or so of this podcast. That style had been repeatedly swept away by the newer sounds that had come out of Memphis, Chicago, and New York, and they were yesterday's news. They hadn't had a hit in three years, and they were worried they were going to be dropped by their record label.   But they were still a popular live act, and they were touring regularly, and in Florida (some sources say they were in Tampa, others Miami) they happened to play on the same bill as a gospel group called the Sensational Nightingales, who were one of the best gospel acts on the circuit:   [Excerpt: The Sensational Nightingales, "Morning Train"]   The Sensational Nightingales had a song, and they were looking for a group to sing it. They couldn't sing it themselves -- it was a secular song, and they were a gospel group -- but they knew that it could be a success if someone did. The song was called "The Twist", and it was based around a common expression from R&B songs that was usually used to mean a generic dance, though it would sometimes be used as a euphemism for sexual activity. There was, though, a specific dance move that was known as the twist, which was a sort of thrusting, grinding move. (It's difficult to get details of exactly what that move involved these days, as it wasn't a formalised thing at all). Twisting wasn't a whole dance itself, it was a movement that people included in other dances.   Twisting in this sense had been mentioned in several songs. For example, in one of Etta James' sequels to "The Wallflower", she had sung:   [Excerpt: Etta James, "Good Rockin' Daddy"]   There had been a lot of songs with lines like that, over the years, and the Sensational Nightingales had written a whole song along those lines. They'd first taken it to Joe Cook, of Little Joe and the Thrillers, who had had a recent pop hit with "Peanuts":   [Excerpt: Little Joe and the Thrillers, "Peanuts"]   But the Sensational Nightingales were remembering an older song, "Let's Do the Slop", that had been an R&B hit for the group in 1954:   [Excerpt: Little Joe and the Thrillers, "Let's Do the Slop"]   That song was very similar to the one by the Nightingales', which suggested that Little Joe might be the right person to do their song, but when Little Joe demoed it, he was dissuaded from releasing it by his record label, Okeh, because they thought it sounded too dirty. So instead the Nightingales decided to offer the song to the Midnighters.   Hank Ballard listened to the song and liked it, but he thought the melody needed tightening up. The song as the Sensational Nightingales sang it was a fifteen-bar blues, and fifteen bars is an awkward, uncommercial, number. So he and the Midnighters' guitarist Cal Green took the song that the Nightingales sang, and fit the lyrics to a pre-existing twelve-bar melody.   The melody they used was one they'd used previously -- on a song called "Is Your Love For Real?":   [Excerpt: Hank Ballard and the Midnighters, "Is Your Love For Real?"]   But this was one of those songs whose melody had a long ancestry. "Is Your Love For Real?" had been inspired by a track by Clyde McPhatter and the Drifters, "Whatcha Gonna Do?":   [Excerpt, Clyde McPhatter and the Drifters, "Whatcha Gonna Do?"]   That song is credited as having been written by Ahmet Ertegun, but listening to the gospel song "Whatcha Gonna Do?" by the Radio Four, from a year or so earlier, shows a certain amount of influence, shall we say, on the later song:   [Excerpt: The Radio Four, "Whatcha Gonna Do?"]   Incidentally, it took more work than it should to track down that song, simply because it's impossible to persuade search engines that a search for The Radio Four, the almost-unknown fifties gospel group, is not a search for Radio Four, the popular BBC radio station.   Initially Ballard and Green took that melody and the twist lyrics, and set them to a Jimmy Reed style blues beat, but by the time they took the song into the studio, in November 1958, they'd changed it for a more straightforward beat, and added the intro they'd previously used on the song "Tore Up Over You":   [Excerpt: Hank Ballard and the Midnighters, "Tore Up Over You"]   They apparently also changed the lyrics significantly -- there exists an earlier demo of the song, recorded as a demo for VeeJay when Ballard wasn't sure that Syd Nathan would renew his contract, with very different, more sexually suggestive, lyrics, which are apparently those that were used in the Sensational Nightingales' version.   Either way, the finished song didn't credit the Nightingales, or Green – who ended up in prison for two years for marijuana possession around this time, and missed out on almost all of this story – or any of the writers of the songs that Ballard lifted from. It was released, with Ballard as the sole credited writer, as the B-side of a ballad called "Teardrops on Your Letter", but DJs flipped the single, and this went to number sixteen on the R&B chart:   [Excerpt: Hank Ballard and the Midnighters, "The Twist"]   And that should have been the end of the matter, and seemed like it would be, for a whole year. "The Twist" was recorded in late 1958, came out in very early 1959, and was just one of many minor R&B hits the Midnighters had. But then a confluence of events made that minor R&B hit into a major craze. The first of these events was that Ballard and the Midnighters released another dance-themed song, "Finger-Poppin' Time", which became a much bigger hit for them, thanks in part to an appearance on Dick Clark's TV show American Bandstand:   [Excerpt: Hank Ballard and the Midnighters, "Finger-Poppin' Time"]   The success of that saw "The Twist" start to become a minor hit again, and it made the lower reaches of the chart.   The second event was also to do with Dick Clark. American Bandstand was at the time the biggest music show on TV -- at the time it ran for ninety minutes every weekday afternoon, and it was shown live, with a studio audience consisting almost entirely of white teenagers. Clark was very aware of what had happened to Alan Freed when Freed had shown Frankie Lymon dancing with a white girl on his show, and wasn't going to repeat Freed's mistakes.   But Clark knew that most of the things that would become cool were coming from black kids, and so there were several regulars in the audience who Clark knew went to black clubs and learned the latest dance moves. Clark would then get those teenagers to demonstrate those moves, while pretending they'd invented them themselves. Several minor dance crazes had started this way, and in 1960 Clark noticed what he thought might become another one.   To understand the dance that became the Twist, we have to go back to the late thirties, and to episode four of this podcast, the one on "Choo Choo Ch'Boogie". If you can remember that episode, we talked there about a dance that was performed in the Savoy Ballroom in New York in the late thirties, called the Lindy Hop.   There were two parts of the Lindy Hop. One of those was a relatively formalised dance, with the partners holding each other, swinging each other around, and so on. That part of the dance was later adopted by white people, and renamed the jitterbug. But there was another part of the dance, known as the breakaway, where the two dancers would separate and show off their own individual moves before coming back together. That would often involve twisting in the old sense, along with a lot of other movements. The breakaway part of the Lindy Hop was never really taken up by white culture, but it continued in black clubs.   And these teenagers had copied the breakaway, as performed by black dancers, and they showed it to Clark, but they called the whole dance "the Twist", possibly because of Ballard's record. Clark thought it had the potential to become something he could promote through his TV shows, at least if they toned down the more overtly sexual aspects. But he needed a record to go with it.   Now, there are several stories about why Clark didn't ask Hank Ballard and the Midnighters on to the show. Some say that they were simply busy elsewhere on tour and couldn't make the trip back, others that Clark wanted someone less threatening -- by which it's generally considered he meant less obviously black, though the artist he settled on is himself black, and that argument gets into a lot of things about colourism about which it's not my place to speak as a white British man. Others say that he wanted someone younger, others that he was worried about the adult nature of Ballard's act, and yet others that he just wanted a performer with whom he had a financial link -- Clark was one of the more obviously corrupt people in the music industry, and would regularly promote records with which he had some sort of financial interest. Possibly all of these were involved.   Either way, rather than getting Hank Ballard and the Midnighters onto his shows to perform "The Twist", even as it had entered the Hot One Hundred at the lower reaches, Clark decided to get someone to remake the record. He asked Cameo-Parkway, a label based in Philadelphia, the city from which Clark's show was broadcast, and which was often willing to do "favours" for Clark, if they could do a remake of the record. This was pretty much a guaranteed hit for the label -- Clark was the single most powerful person in the music industry at this point, and if he plugged an artist they were going to be a success -- and so of course they said yes, despite the label normally being a novelty label, rather than dealing in rock and roll or R&B. They even had the perfect singer for the job.   Ernest Evans was eighteen years old, and had repeatedly tried and failed to get Cameo-Parkway interested in him as a singer, but things had recently changed for him. Clark had wanted to do an audio Christmas card for his friends -- a single with "Jingle Bells" sung in the style of various different singers. Evans had told the people at Cameo-Parkway he could do impressions of different singers, and so they'd asked him to record it. That recording was a private one, but Evans later did a rerecording of the song as a duet with Bobby Rydell, including the same impressions of Fats Domino, Elvis Presley, and the Chipmunks that he'd done on Clark's private copy, so you can hear what it sounded like:   [Excerpt: Chubby Checker and Bobby Rydell, "Jingle Bell Imitations"]   It was that Fats Domino imitation, in particular, that gave Evans his stage name. Dick Clark's wife Barbara was there when he was doing the recording, and she called him "Chubby Checker", as a play on "Fats Domino".   Clark was impressed enough with the record that Cameo-Parkway decided to have the newly-named Chubby Checker make a record in the same style for the public, and his version of "Mary Had a Little Lamb" in that style, renamed "The Class" made number thirty-eight on the charts thanks to promotion from Clark:   [Excerpt: Chubby Checker, "The Class"]   Two more singles in that vein followed, "Whole Lotta Laughin'" and "Dancing Dinosaur", but neither was a success. But Checker was someone known to Clark, someone unthreatening, someone on a label with financial connections to Clark, and someone who could do decent impressions. So when Clark wanted a record that sounded exactly like Hank Ballard and the Midnighters singing "The Twist", it was easy enough for Checker to do a Ballard impression:   [Excerpt: Chubby Checker, "The Twist"]   Clark got Checker to perform that on The Dick Clark Show -- a different show from Bandstand, but one with a similar audience size -- and to demonstrate the toned-down version of the dance that would be just about acceptable to the television audience. This version of the dance basically consisted of miming towelling your buttocks while stubbing out a cigarette with your foot, and was simple enough that anyone could do it.   Checker's version of "The Twist" went to number one, as a result of Clark constantly plugging it on his TV shows. It was so close to Ballard's version that when Ballard first heard it on the radio, he was convinced it was his own record. The only differences were that Checker's drummer plays more on the cymbals, and that Checker's saxophone player plays all the way through the song, rather than just playing a solo -- and King Records quickly got a saxophone player in to the studio to overdub an identical part on Ballard's track and reissue it, to make it sound more like the soundalike. Ballard's version of the song ended up going to number twenty-eight on the pop charts on Checker's coattails.   And that should, by all rights, have been the end of the Twist. Checker recorded a series of follow-up hits over the next few months, all of them covers of older R&B songs about dances -- a version of "The Hucklebuck", a quick cover of Don Covay's "Pony Time", released only a few months before, which became Checker's second number one, and "Dance the Mess Around". All of these were hits, and it seemed like Chubby Checker would be associated with dances in general, rather than with the Twist in particular. In summer 1961 he did have a second Twist hit, with "Let's Twist Again" -- singing "let's twist again, like we did last summer", a year on from "The Twist":   [Excerpt: Chubby Checker, "Let's Twist Again"]   That was written by the two owners of Cameo-Parkway, who had parallel careers as writers of novelty songs -- their first big hit had been Elvis' "Teddy Bear". But over the few months after "Let's Twist Again", Checker was back to non-Twist dance songs. But then the Twist craze proper started, and it started because of Joey Dee and the Starliters.   Joey DiNicola was a classmate of the Shirelles, and when the Shirelles had their first hits, they'd told DiNicola that he should meet up with Florence Greenberg. His group had a rotating lineup, at one point including guitarist Joe Pesci, who would later become famous as an actor rather than as a musician, but the core membership was a trio of vocalists -- Joey Dee, David Brigati, and Larry Vernieri, all of whom would take lead vocals. They were one of the few interracial bands of the time, and the music they performed was a stripped-down version of R&B, with an organ as the dominant instrument -- the kind of thing that would later get known as garage rock or frat rock.   Greenberg signed the Starliters to Scepter Records, and they released a couple of singles on Scepter, produced and written like much of the material on Scepter by Luther Dixon:   [Excerpt: Joey Dee and the Starliters, "Shimmy Baby"]   Neither of their singles on Scepter was particularly successful, but they became a popular live act around New Jersey, and got occasional gigs at venues in New York. They played a three-day weekend at a seedy working-class Mafia-owned bar called the Peppermint Lounge, in Manhattan. Their shows there were so successful that they got a residency there, and became the house band. Soon the tiny venue -- which had a capacity of about two hundred people -- was packed, largely with the band's fans from New Jersey -- the legal drinking age in New Jersey was twenty-one, while in New York it was eighteen, so a lot of eighteen- and nineteen-year-olds from New Jersey would make the journey.   As Joey Dee and the Starliters were just playing covers of chart hits for dancing, of course they played "The Twist" and "Let's Twist Again", and of course these audiences would dance the Twist to them. But that was happening in a million dingy bars and clubs up and down the country, with nobody caring. The idea that anyone would care about a tiny, dingy, bad-smelling bar and the cover band that played it was a nonsense.   Until it wasn't.   Because the owners of the Peppermint Lounge decided that they wanted a little publicity for their club, and they hired a publicist, who in turn got in touch with a company called Celebrity Services. What Celebrity Services did was, for a fee, they would get some minor celebrity or other to go to a venue and have a drink or a meal, and they would let the gossip columnists know about it, so the venue would then get a mention in the newspapers. Normally this would be one or two passing mentions, and nothing further would happen.   But this time it did. A couple of mentions in the society columns somehow intrigued enough people that some more celebrities started dropping in. The club was quite close to Broadway, and so a few of the stars of Broadway started popping in to see what the fuss was about. And then more stars started popping in to see what the other stars had been popping in for. Noel Coward started cruising the venue looking for rough trade, Judy Garland, Marilyn Monroe, and Tallulah Bankhead were regulars, Norman Mailer danced the Twist with the granddaughter of Lord Beaverbrook, and Tennessee Williams and even Greta Garbo turned up, all to either dance to Joey Dee and the Starliters or to watch the younger people dancing to them. There were even rumours, which turned out to be false, that Jackie Kennedy had gone to the Peppermint Lounge – though she did apparently enjoy dancing the Twist herself.   The Peppermint Lounge became a sensation, and the stories all focussed on the dance these people were doing. "The Twist" reentered the charts, eighteen months after it had first come out, and Morris Levy sprang into action. Levy wanted a piece of this new Twist thing, and since he didn't have Chubby Checker, he was going to get the next best thing. He signed Joey Dee and the Starliters to Roulette Records, and got Henry Glover in to produce them.   Henry Glover is a figure who we really didn't mention as much as we should have in the first fifty or so episodes of the podcast. He'd played trumpet with Lucky Millinder, and he'd produced most of the artists on King Records in the late forties and fifties, including Wynonie Harris, Bill Doggett, and James Brown. He'd produced Little Willie John's version of "Fever", and wrote "Drown in My Own Tears", which had become a hit for Ray Charles.   Glover had also produced Hank Ballard's original version of "The Twist", and now he was assigned to write a Twist song for Joey Dee and the Starliters. His song, "Peppermint Twist", became their first single on Roulette:   [Excerpt: Joey Dee and the Starliters, "Peppermint Twist"]   "Peppermint Twist" went to number one, and Chubby Checker's version of "The Twist" went back to number one, becoming the only record ever to do so during the rock and roll era. In fact, Checker's record, on its reentry, became so popular that as recently as 2018 Billboard listed it as the *all-time* number one record on the Hot One Hundred.   The Twist was a massive sensation, but it had moved first from working-class black adults, to working-class white teenagers, to young middle-class white adults, and now to middle-aged and elderly rich white people who thought it was the latest "in" thing. And so, of course, it stopped being the cool in thing with the teenagers, almost straight away. If you're young and rebellious, you don't want to be doing the same thing that your grandmother's favourite film star from when she was a girl is doing.   But it took a while for that disinterest on the part of the teenagers to filter through to the media, and in the meantime there were thousands of Twist cash-in records. There was a version of "Waltzin' Matilda" remade as "Twistin' Matilda", the Chipmunks recorded "The Alvin Twist". The Dovells, a group on Cameo Parkway who had had a hit with "The Bristol Stomp", recorded "Bristol Twistin' Annie", which managed to be a sequel not only to "The Twist", but to their own "The Bristol Stomp" and to Hank Ballard's earlier "Annie" recordings:   [Excerpt: The Dovells, "Bristol Twistin' Annie"]   There were Twist records by Bill Haley, Neil Sedaka, Duane Eddy... almost all of these were terrible records, although we will, in a future episode, look at one actually good Twist single.   The Twist craze proper started in November 1961, and by December there were already two films out in the cinemas. Hey! Let's Twist! starred Joey Dee and the Starliters in a film which portrayed the Peppermint Lounge as a family-run Italian restaurant rather than a Mafia-run bar, and featured Joe Pesci in a cameo that was his first film role. Twist Around the Clock starred Chubby Checker and took a whole week to make. As well as Checker, it featured Dion, and the Marcels, trying desperately to have another hit after "Blue Moon":   [Excerpt: The Marcels, "Merry Twistmas”]   Twist Around The Clock was an easy film to make because Sam Kurtzman, who produced it, had produced several rock films in the fifties, including Rock Around the Clock. He got the writer of that film to retype his script over a weekend, so it talked about twisting instead of rocking, and starred Chubby Checker instead of Bill Haley. As Kurtzman had also made Bill Haley's second film, Don't Knock The Rock, so Checker's second film became Don't Knock the Twist.   Checker also appeared in a British film, It's Trad, Dad!, which we talked about last week. That was a cheap trad jazz cash-in, but at the last minute they decided to rework it so it included Twist music as well as trad, so the director, Richard Lester, flew to the USA for a couple of days to film Checker and a couple of other artists miming to their records, which was then intercut with footage of British teenagers dancing, to make it look like they were dancing to Checker.   Of course, the Twist craze couldn't last forever, but Chubby Checker managed a good few years of making dance-craze singles, and he married Catharina Lodders, who had been Miss World 1962, in 1964. Rather amazingly for a marriage between a rock star and a beauty queen, they remain married to this day, nearly sixty years later.   Checker's last big hit came in 1965, by which point the British Invasion had taken over the American charts so comprehensively that Checker was recording "Do the Freddie", a song about the dance that Freddie Garrity of Freddie and the Dreamers did on stage:   [Excerpt: Chubby Checker, "Do the Freddie"]   In recent decades, Checker has been very bitter about his status. He's continued a career of sorts, even scoring a novelty hit in the late eighties with a hip-hop remake of "The Twist" with The Fat Boys, but for a long time his most successful records were unavailable. Cameo-Parkway was bought in the late sixties by Allen Klein, a music industry executive we'll be hearing more of, more or less as a tax writeoff, and between 1975 and 2005 there was no legal way to get any of the recordings on that label, as they went out of print and weren't issued on CD, so Checker didn't get the royalties he could have been getting from thirty years of nostalgia compilation albums. Recent interviews show that Checker is convinced he is the victim of an attempt to erase him from rock and roll history, and believes he deserves equal prominence with Elvis and the Beatles. He believes his lack of recognition is down to racism, as he married a white woman, and has protested outside the Rock and Roll Hall of Fame at his lack of induction. Whatever one's view of the artistic merits of his work, it's sad that someone so successful now feels so overlooked.   But the Twist fad, once it died, left three real legacies. One was a song we'll be looking at in a few months, and the other two came from Joey Dee and the Starliters. The Young Rascals, a group who had a series of hits from 1965 to 1970, started out as the instrumentalists in the 1964 lineup of Joey Dee and the Starliters before breaking out to become their own band, and a trio called Ronnie and the Relatives made their first appearances at the Peppermint Lounge, singing backing vocals and dancing behind the Starliters. They later changed their name to The Ronettes, and we'll be hearing more from them later.   The Twist was the last great fad of the pre-Beatles sixties. That it left so little of a cultural mark says a lot about the changes that were to come, and which would sweep away all memory of the previous few years...

Episode ninety-one of A History of Rock Music in Five Hundred Songs looks at “The Twist” by Chubby Checker, and how the biggest hit single ever had its roots in hard R&B. Click the full post to read liner notes, links to more information, and a transcript of the episode.   Patreon backers also have a ten-minute bonus episode available, on “Viens Danser le Twist” by Johnny Hallyday, a cover of a Chubby Checker record that became the first number one for France’s biggest rock star.   Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/   Also, people have asked me to start selling podcast merchandise, so you can now buy T-shirts from https://500-songs.teemill.com/. That store will be updated semi-regularly.   —-more—-   Resources   As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode.    Much of the information in this episode comes from The Twist: The Story of the Song and Dance That Changed the World by Jim Dawson.    This collection of Hank Ballard’s fifties singles is absolutely essential for any lover of R&B.   And this four-CD box set contains all Chubby Checker’s pre-1962 recordings, plus a selection of other Twist hits from 1961 and 62, including recordings by Johnny Hallyday, Bill Haley, Vince Taylor, and others.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them?   Transcript   Today we’re going to look at a record that achieved a feat that’s unique in American history. It is the only non-Christmas-themed record — ever — to go to number one on the Billboard pop charts, drop off, and go back to number one again later. It’s a record that, a year after it went to number one for the first time, started a craze that would encompass everyone from teenagers in Philadelphia to the first lady of the United States.   We’re going to look at Chubby Checker, and at “the Twist”, and how a B-side by a washed-up R&B group became the most successful record in chart history:   [Excerpt: Chubby Checker, “The Twist”]   One of the groups that have been a perennial background player in our story so far has been Hank Ballard and the Midnighters. We talked about them most in the episode on “The Wallflower”, which was based on their hit “Work With Me Annie”, and they’ve cropped up in passing in a number of other places, most recently in the episode on Jackie Wilson. By 1958, though they were largely a forgotten group. Their style had been rooted in the LA R&B sound that had been pioneered by Johnny Otis, and which we talked so much about in the first year or so of this podcast. That style had been repeatedly swept away by the newer sounds that had come out of Memphis, Chicago, and New York, and they were yesterday’s news. They hadn’t had a hit in three years, and they were worried they were going to be dropped by their record label.   But they were still a popular live act, and they were touring regularly, and in Florida (some sources say they were in Tampa, others Miami) they happened to play on the same bill as a gospel group called the Sensational Nightingales, who were one of the best gospel acts on the circuit:   [Excerpt: The Sensational Nightingales, “Morning Train”]   The Sensational Nightingales had a song, and they were looking for a group to sing it. They couldn’t sing it themselves — it was a secular song, and they were a gospel group — but they knew that it could be a success if someone did. The song was called “The Twist”, and it was based around a common expression from R&B songs that was usually used to mean a generic dance, though it would sometimes be used as a euphemism for sexual activity. There was, though, a specific dance move that was known as the twist, which was a sort of thrusting, grinding move. (It’s difficult to get details of exactly what that move involved these days, as it wasn’t a formalised thing at all). Twisting wasn’t a whole dance itself, it was a movement that people included in other dances.   Twisting in this sense had been mentioned in several songs. For example, in one of Etta James’ sequels to “The Wallflower”, she had sung:   [Excerpt: Etta James, “Good Rockin’ Daddy”]   There had been a lot of songs with lines like that, over the years, and the Sensational Nightingales had written a whole song along those lines. They’d first taken it to Joe Cook, of Little Joe and the Thrillers, who had had a recent pop hit with “Peanuts”:   [Excerpt: Little Joe and the Thrillers, “Peanuts”]   But the Sensational Nightingales were remembering an older song, “Let’s Do the Slop”, that had been an R&B hit for the group in 1954:   [Excerpt: Little Joe and the Thrillers, “Let’s Do the Slop”]   That song was very similar to the one by the Nightingales’, which suggested that Little Joe might be the right person to do their song, but when Little Joe demoed it, he was dissuaded from releasing it by his record label, Okeh, because they thought it sounded too dirty. So instead the Nightingales decided to offer the song to the Midnighters.   Hank Ballard listened to the song and liked it, but he thought the melody needed tightening up. The song as the Sensational Nightingales sang it was a fifteen-bar blues, and fifteen bars is an awkward, uncommercial, number. So he and the Midnighters’ guitarist Cal Green took the song that the Nightingales sang, and fit the lyrics to a pre-existing twelve-bar melody.   The melody they used was one they’d used previously — on a song called “Is Your Love For Real?”:   [Excerpt: Hank Ballard and the Midnighters, “Is Your Love For Real?”]   But this was one of those songs whose melody had a long ancestry. “Is Your Love For Real?” had been inspired by a track by Clyde McPhatter and the Drifters, “Whatcha Gonna Do?”:   [Excerpt, Clyde McPhatter and the Drifters, “Whatcha Gonna Do?”]   That song is credited as having been written by Ahmet Ertegun, but listening to the gospel song “Whatcha Gonna Do?” by the Radio Four, from a year or so earlier, shows a certain amount of influence, shall we say, on the later song:   [Excerpt: The Radio Four, “Whatcha Gonna Do?”]   Incidentally, it took more work than it should to track down that song, simply because it’s impossible to persuade search engines that a search for The Radio Four, the almost-unknown fifties gospel group, is not a search for Radio Four, the popular BBC radio station.   Initially Ballard and Green took that melody and the twist lyrics, and set them to a Jimmy Reed style blues beat, but by the time they took the song into the studio, in November 1958, they’d changed it for a more straightforward beat, and added the intro they’d previously used on the song “Tore Up Over You”:   [Excerpt: Hank Ballard and the Midnighters, “Tore Up Over You”]   They apparently also changed the lyrics significantly — there exists an earlier demo of the song, recorded as a demo for VeeJay when Ballard wasn’t sure that Syd Nathan would renew his contract, with very different, more sexually suggestive, lyrics, which are apparently those that were used in the Sensational Nightingales’ version.   Either way, the finished song didn’t credit the Nightingales, or Green – who ended up in prison for two years for marijuana possession around this time, and missed out on almost all of this story – or any of the writers of the songs that Ballard lifted from. It was released, with Ballard as the sole credited writer, as the B-side of a ballad called “Teardrops on Your Letter”, but DJs flipped the single, and this went to number sixteen on the R&B chart:   [Excerpt: Hank Ballard and the Midnighters, “The Twist”]   And that should have been the end of the matter, and seemed like it would be, for a whole year. “The Twist” was recorded in late 1958, came out in very early 1959, and was just one of many minor R&B hits the Midnighters had. But then a confluence of events made that minor R&B hit into a major craze. The first of these events was that Ballard and the Midnighters released another dance-themed song, “Finger-Poppin’ Time”, which became a much bigger hit for them, thanks in part to an appearance on Dick Clark’s TV show American Bandstand:   [Excerpt: Hank Ballard and the Midnighters, “Finger-Poppin’ Time”]   The success of that saw “The Twist” start to become a minor hit again, and it made the lower reaches of the chart.   The second event was also to do with Dick Clark. American Bandstand was at the time the biggest music show on TV — at the time it ran for ninety minutes every weekday afternoon, and it was shown live, with a studio audience consisting almost entirely of white teenagers. Clark was very aware of what had happened to Alan Freed when Freed had shown Frankie Lymon dancing with a white girl on his show, and wasn’t going to repeat Freed’s mistakes.   But Clark knew that most of the things that would become cool were coming from black kids, and so there were several regulars in the audience who Clark knew went to black clubs and learned the latest dance moves. Clark would then get those teenagers to demonstrate those moves, while pretending they’d invented them themselves. Several minor dance crazes had started this way, and in 1960 Clark noticed what he thought might become another one.   To understand the dance that became the Twist, we have to go back to the late thirties, and to episode four of this podcast, the one on “Choo Choo Ch’Boogie”. If you can remember that episode, we talked there about a dance that was performed in the Savoy Ballroom in New York in the late thirties, called the Lindy Hop.   There were two parts of the Lindy Hop. One of those was a relatively formalised dance, with the partners holding each other, swinging each other around, and so on. That part of the dance was later adopted by white people, and renamed the jitterbug. But there was another part of the dance, known as the breakaway, where the two dancers would separate and show off their own individual moves before coming back together. That would often involve twisting in the old sense, along with a lot of other movements. The breakaway part of the Lindy Hop was never really taken up by white culture, but it continued in black clubs.   And these teenagers had copied the breakaway, as performed by black dancers, and they showed it to Clark, but they called the whole dance “the Twist”, possibly because of Ballard’s record. Clark thought it had the potential to become something he could promote through his TV shows, at least if they toned down the more overtly sexual aspects. But he needed a record to go with it.   Now, there are several stories about why Clark didn’t ask Hank Ballard and the Midnighters on to the show. Some say that they were simply busy elsewhere on tour and couldn’t make the trip back, others that Clark wanted someone less threatening — by which it’s generally considered he meant less obviously black, though the artist he settled on is himself black, and that argument gets into a lot of things about colourism about which it’s not my place to speak as a white British man. Others say that he wanted someone younger, others that he was worried about the adult nature of Ballard’s act, and yet others that he just wanted a performer with whom he had a financial link — Clark was one of the more obviously corrupt people in the music industry, and would regularly promote records with which he had some sort of financial interest. Possibly all of these were involved.   Either way, rather than getting Hank Ballard and the Midnighters onto his shows to perform “The Twist”, even as it had entered the Hot One Hundred at the lower reaches, Clark decided to get someone to remake the record. He asked Cameo-Parkway, a label based in Philadelphia, the city from which Clark’s show was broadcast, and which was often willing to do “favours” for Clark, if they could do a remake of the record. This was pretty much a guaranteed hit for the label — Clark was the single most powerful person in the music industry at this point, and if he plugged an artist they were going to be a success — and so of course they said yes, despite the label normally being a novelty label, rather than dealing in rock and roll or R&B. They even had the perfect singer for the job.   Ernest Evans was eighteen years old, and had repeatedly tried and failed to get Cameo-Parkway interested in him as a singer, but things had recently changed for him. Clark had wanted to do an audio Christmas card for his friends — a single with “Jingle Bells” sung in the style of various different singers. Evans had told the people at Cameo-Parkway he could do impressions of different singers, and so they’d asked him to record it. That recording was a private one, but Evans later did a rerecording of the song as a duet with Bobby Rydell, including the same impressions of Fats Domino, Elvis Presley, and the Chipmunks that he’d done on Clark’s private copy, so you can hear what it sounded like:   [Excerpt: Chubby Checker and Bobby Rydell, “Jingle Bell Imitations”]   It was that Fats Domino imitation, in particular, that gave Evans his stage name. Dick Clark’s wife Barbara was there when he was doing the recording, and she called him “Chubby Checker”, as a play on “Fats Domino”.   Clark was impressed enough with the record that Cameo-Parkway decided to have the newly-named Chubby Checker make a record in the same style for the public, and his version of “Mary Had a Little Lamb” in that style, renamed “The Class” made number thirty-eight on the charts thanks to promotion from Clark:   [Excerpt: Chubby Checker, “The Class”]   Two more singles in that vein followed, “Whole Lotta Laughin'” and “Dancing Dinosaur”, but neither was a success. But Checker was someone known to Clark, someone unthreatening, someone on a label with financial connections to Clark, and someone who could do decent impressions. So when Clark wanted a record that sounded exactly like Hank Ballard and the Midnighters singing “The Twist”, it was easy enough for Checker to do a Ballard impression:   [Excerpt: Chubby Checker, “The Twist”]   Clark got Checker to perform that on The Dick Clark Show — a different show from Bandstand, but one with a similar audience size — and to demonstrate the toned-down version of the dance that would be just about acceptable to the television audience. This version of the dance basically consisted of miming towelling your buttocks while stubbing out a cigarette with your foot, and was simple enough that anyone could do it.   Checker’s version of “The Twist” went to number one, as a result of Clark constantly plugging it on his TV shows. It was so close to Ballard’s version that when Ballard first heard it on the radio, he was convinced it was his own record. The only differences were that Checker’s drummer plays more on the cymbals, and that Checker’s saxophone player plays all the way through the song, rather than just playing a solo — and King Records quickly got a saxophone player in to the studio to overdub an identical part on Ballard’s track and reissue it, to make it sound more like the soundalike. Ballard’s version of the song ended up going to number twenty-eight on the pop charts on Checker’s coattails.   And that should, by all rights, have been the end of the Twist. Checker recorded a series of follow-up hits over the next few months, all of them covers of older R&B songs about dances — a version of “The Hucklebuck”, a quick cover of Don Covay’s “Pony Time”, released only a few months before, which became Checker’s second number one, and “Dance the Mess Around”. All of these were hits, and it seemed like Chubby Checker would be associated with dances in general, rather than with the Twist in particular. In summer 1961 he did have a second Twist hit, with “Let’s Twist Again” — singing “let’s twist again, like we did last summer”, a year on from “The Twist”:   [Excerpt: Chubby Checker, “Let’s Twist Again”]   That was written by the two owners of Cameo-Parkway, who had parallel careers as writers of novelty songs — their first big hit had been Elvis’ “Teddy Bear”. But over the few months after “Let’s Twist Again”, Checker was back to non-Twist dance songs. But then the Twist craze proper started, and it started because of Joey Dee and the Starliters.   Joey DiNicola was a classmate of the Shirelles, and when the Shirelles had their first hits, they’d told DiNicola that he should meet up with Florence Greenberg. His group had a rotating lineup, at one point including guitarist Joe Pesci, who would later become famous as an actor rather than as a musician, but the core membership was a trio of vocalists — Joey Dee, David Brigati, and Larry Vernieri, all of whom would take lead vocals. They were one of the few interracial bands of the time, and the music they performed was a stripped-down version of R&B, with an organ as the dominant instrument — the kind of thing that would later get known as garage rock or frat rock.   Greenberg signed the Starliters to Scepter Records, and they released a couple of singles on Scepter, produced and written like much of the material on Scepter by Luther Dixon:   [Excerpt: Joey Dee and the Starliters, “Shimmy Baby”]   Neither of their singles on Scepter was particularly successful, but they became a popular live act around New Jersey, and got occasional gigs at venues in New York. They played a three-day weekend at a seedy working-class Mafia-owned bar called the Peppermint Lounge, in Manhattan. Their shows there were so successful that they got a residency there, and became the house band. Soon the tiny venue — which had a capacity of about two hundred people — was packed, largely with the band’s fans from New Jersey — the legal drinking age in New Jersey was twenty-one, while in New York it was eighteen, so a lot of eighteen- and nineteen-year-olds from New Jersey would make the journey.   As Joey Dee and the Starliters were just playing covers of chart hits for dancing, of course they played “The Twist” and “Let’s Twist Again”, and of course these audiences would dance the Twist to them. But that was happening in a million dingy bars and clubs up and down the country, with nobody caring. The idea that anyone would care about a tiny, dingy, bad-smelling bar and the cover band that played it was a nonsense.   Until it wasn’t.   Because the owners of the Peppermint Lounge decided that they wanted a little publicity for their club, and they hired a publicist, who in turn got in touch with a company called Celebrity Services. What Celebrity Services did was, for a fee, they would get some minor celebrity or other to go to a venue and have a drink or a meal, and they would let the gossip columnists know about it, so the venue would then get a mention in the newspapers. Normally this would be one or two passing mentions, and nothing further would happen.   But this time it did. A couple of mentions in the society columns somehow intrigued enough people that some more celebrities started dropping in. The club was quite close to Broadway, and so a few of the stars of Broadway started popping in to see what the fuss was about. And then more stars started popping in to see what the other stars had been popping in for. Noel Coward started cruising the venue looking for rough trade, Judy Garland, Marilyn Monroe, and Tallulah Bankhead were regulars, Norman Mailer danced the Twist with the granddaughter of Lord Beaverbrook, and Tennessee Williams and even Greta Garbo turned up, all to either dance to Joey Dee and the Starliters or to watch the younger people dancing to them. There were even rumours, which turned out to be false, that Jackie Kennedy had gone to the Peppermint Lounge – though she did apparently enjoy dancing the Twist herself.   The Peppermint Lounge became a sensation, and the stories all focussed on the dance these people were doing. “The Twist” reentered the charts, eighteen months after it had first come out, and Morris Levy sprang into action. Levy wanted a piece of this new Twist thing, and since he didn’t have Chubby Checker, he was going to get the next best thing. He signed Joey Dee and the Starliters to Roulette Records, and got Henry Glover in to produce them.   Henry Glover is a figure who we really didn’t mention as much as we should have in the first fifty or so episodes of the podcast. He’d played trumpet with Lucky Millinder, and he’d produced most of the artists on King Records in the late forties and fifties, including Wynonie Harris, Bill Doggett, and James Brown. He’d produced Little Willie John’s version of “Fever”, and wrote “Drown in My Own Tears”, which had become a hit for Ray Charles.   Glover had also produced Hank Ballard’s original version of “The Twist”, and now he was assigned to write a Twist song for Joey Dee and the Starliters. His song, “Peppermint Twist”, became their first single on Roulette:   [Excerpt: Joey Dee and the Starliters, “Peppermint Twist”]   “Peppermint Twist” went to number one, and Chubby Checker’s version of “The Twist” went back to number one, becoming the only record ever to do so during the rock and roll era. In fact, Checker’s record, on its reentry, became so popular that as recently as 2018 Billboard listed it as the *all-time* number one record on the Hot One Hundred.   The Twist was a massive sensation, but it had moved first from working-class black adults, to working-class white teenagers, to young middle-class white adults, and now to middle-aged and elderly rich white people who thought it was the latest “in” thing. And so, of course, it stopped being the cool in thing with the teenagers, almost straight away. If you’re young and rebellious, you don’t want to be doing the same thing that your grandmother’s favourite film star from when she was a girl is doing.   But it took a while for that disinterest on the part of the teenagers to filter through to the media, and in the meantime there were thousands of Twist cash-in records. There was a version of “Waltzin’ Matilda” remade as “Twistin’ Matilda”, the Chipmunks recorded “The Alvin Twist”. The Dovells, a group on Cameo Parkway who had had a hit with “The Bristol Stomp”, recorded “Bristol Twistin’ Annie”, which managed to be a sequel not only to “The Twist”, but to their own “The Bristol Stomp” and to Hank Ballard’s earlier “Annie” recordings:   [Excerpt: The Dovells, “Bristol Twistin’ Annie”]   There were Twist records by Bill Haley, Neil Sedaka, Duane Eddy… almost all of these were terrible records, although we will, in a future episode, look at one actually good Twist single.   The Twist craze proper started in November 1961, and by December there were already two films out in the cinemas. Hey! Let’s Twist! starred Joey Dee and the Starliters in a film which portrayed the Peppermint Lounge as a family-run Italian restaurant rather than a Mafia-run bar, and featured Joe Pesci in a cameo that was his first film role. Twist Around the Clock starred Chubby Checker and took a whole week to make. As well as Checker, it featured Dion, and the Marcels, trying desperately to have another hit after “Blue Moon”:   [Excerpt: The Marcels, “Merry Twistmas”]   Twist Around The Clock was an easy film to make because Sam Kurtzman, who produced it, had produced several rock films in the fifties, including Rock Around the Clock. He got the writer of that film to retype his script over a weekend, so it talked about twisting instead of rocking, and starred Chubby Checker instead of Bill Haley. As Kurtzman had also made Bill Haley’s second film, Don’t Knock The Rock, so Checker’s second film became Don’t Knock the Twist.   Checker also appeared in a British film, It’s Trad, Dad!, which we talked about last week. That was a cheap trad jazz cash-in, but at the last minute they decided to rework it so it included Twist music as well as trad, so the director, Richard Lester, flew to the USA for a couple of days to film Checker and a couple of other artists miming to their records, which was then intercut with footage of British teenagers dancing, to make it look like they were dancing to Checker.   Of course, the Twist craze couldn’t last forever, but Chubby Checker managed a good few years of making dance-craze singles, and he married Catharina Lodders, who had been Miss World 1962, in 1964. Rather amazingly for a marriage between a rock star and a beauty queen, they remain married to this day, nearly sixty years later.   Checker’s last big hit came in 1965, by which point the British Invasion had taken over the American charts so comprehensively that Checker was recording “Do the Freddie”, a song about the dance that Freddie Garrity of Freddie and the Dreamers did on stage:   [Excerpt: Chubby Checker, “Do the Freddie”]   In recent decades, Checker has been very bitter about his status. He’s continued a career of sorts, even scoring a novelty hit in the late eighties with a hip-hop remake of “The Twist” with The Fat Boys, but for a long time his most successful records were unavailable. Cameo-Parkway was bought in the late sixties by Allen Klein, a music industry executive we’ll be hearing more of, more or less as a tax writeoff, and between 1975 and 2005 there was no legal way to get any of the recordings on that label, as they went out of print and weren’t issued on CD, so Checker didn’t get the royalties he could have been getting from thirty years of nostalgia compilation albums. Recent interviews show that Checker is convinced he is the victim of an attempt to erase him from rock and roll history, and believes he deserves equal prominence with Elvis and the Beatles. He believes his lack of recognition is down to racism, as he married a white woman, and has protested outside the Rock and Roll Hall of Fame at his lack of induction. Whatever one’s view of the artistic merits of his work, it’s sad that someone so successful now feels so overlooked.   But the Twist fad, once it died, left three real legacies. One was a song we’ll be looking at in a few months, and the other two came from Joey Dee and the Starliters. The Young Rascals, a group who had a series of hits from 1965 to 1970, started out as the instrumentalists in the 1964 lineup of Joey Dee and the Starliters before breaking out to become their own band, and a trio called Ronnie and the Relatives made their first appearances at the Peppermint Lounge, singing backing vocals and dancing behind the Starliters. They later changed their name to The Ronettes, and we’ll be hearing more from them later.   The Twist was the last great fad of the pre-Beatles sixties. That it left so little of a cultural mark says a lot about the changes that were to come, and which would sweep away all memory of the previous few years…

Football is back! NPL Capital Football round 1 took place this weekend and we are here with all the results, news and interviews from it. Start times and contents down below: NPL 1 - 2:01-21:45 2:01 - Canberra Olympic Football Club vs Belconnen United Blue Devils Interviews featuring Paul Macor and Robbie Cattanach. 8:18 - Monaro Panthers FC vs Canberra Croatia FC Interviews featuring Andy Rakic and Jimmy Kannaridis. 14:22 - Gungahlin United Football Club vs Woden-Weston Football Club 18:26 - Tigers FC NPL1 vs Tuggeranong United Football Club NPLW - 21:36 - 38:19 21:36 - Belconnen United Blue Devils vs Monaro Panthers FC 23:58 - Gungahlin United Football Club vs Canberra Olympic Football Club interviews featuring Diego Iglesias and Andrew Woodman. 30:45 - Woden-Weston Football Club vs Canberra Croatia FC interviews featuring Nik Brozinic and Mark Boyle. 34:49 - Tuggeranong United Football Club vs Canberra United Football Club NPL2 - 38:20 - 56:35 38:20 - Narrabundah FC vs Weston Molonglo Football Club 40:02 - Wagga City Wanderers vs ANU Football Club interviews featuring Michael Babic and Jim Dawson. 48:13 - Canberra White Eagles vs O'Connor Knights SC 50:16 - Brindabella Blues Football Club (BBFC) vs Yoogali Soccer Club NPL2 interviews featuring Luke Santolin and Zoran Glavinic.

Jim Dawson and Harry Vander Krabben “Total Expression” Communication for Tomorrow's Advanced Communicators Bringing the Platform of Expression to your Fingertips… Jim is the CEO of ADI Marketing, a B2B sales support business. For over two decades ADI Marketing has been placing salespeople in front of the decision makers they want to meet. Jim feels strongly that prospecting and selling require two different skill sets. In addition, wouldn't you or your salespeople's time be better spent in front of the decision maker rather than chasing them down? ADI Marketing services have been used from Fortune 100 companies all the way to single entrepreneurs. www.amarketing.com He is a coauthor of “101 Speaking Nuggets” (2016), “101 Prospecting Nuggets” (2009) and co-author of “Real World  Customer Service Strategies That Work” (2004) and has contributed to nearly 200 business and trade journals, including Job Training & Placement Report, Start Your Own Business, American Management Association, Balance Magazine, Association News, Business Credit, Connections Magazine, Insurance Insight, The Office Professional, The Customer-Service Advantage and Drake Business Review. Jim is the master facilitator ADI Performance, an executive training division of ADI Marketing. Over the last thirty years Jim has dedicated himself to developing and delivering training that acts as a catalyst, unleashing individual potential. Crafting a message that engages and motivates individuals to think, and, when people think, behavioral change happens. Popular with many different audiences, Jim's life-changing programs have been delivered to thousands of participants. He is a speaker, corporate trainer/facilitator, columnist and author.  www.adiperformance.com Jim's education:  BS in Wildlife Biology from the University of Vermont, 1978.  MBA in Informational Technology from Fairleigh Dickinson University, 1982.  Certified Professional Development Trainer, The Chauncey Group International, Ltd. 1998  Leadership Education: An Advanced Program for Trainers, Educators and Consultants – J F Kennedy School of Government at Harvard University, Cambridge, MA ▪ May 2001 Jim served in the USMC and is a disabled combat veteran from Viet Nam. For as long has he can remember, he has been intrigued about the effectiveness of communications. In his opinion one of the most effective ways of practicing one's communication skills is through “Improv.” He is currently active in the following organizations:  Georgia ForestWatch, Board Member  Finnish American Chamber of Commerce, Past President  Toastmasters International, Past District Governor for the State of Georgia, Rank #1 in the World under his leadership  Southern Order of Storytellers & Roswell Ramble Cluster Group  Roswell Photographic Society  Chattahoochee Nature Center http://www.amarketing.com Harry Vander Krabben has been in the Facilities Management industry for close to thirty years, and has given countless speeches and presentations to clients, management and at company conferences. He realized from the beginning that communicating effectively is essential to personal and business success. Acquiring knowledge is not enough; continuous and deliberate practice is the key to being heard and understood. Harry has overcome obstacles in this journey from being a childhood stutterer to becoming a speaking professional. In 2016 he co-authored 101 Speaking Nuggets and is a regular contributor to the blog, 101 Speaking Nuggets. Currently Harry is heavily involved in Video Production. He gained knowledge from books and observations and knew the only way to achieve his goal was through deliberate practice, competent feedback and coaching other speakers. Expertise comes from doing, whether it is a result of joining speaking organizations or presenting in front of large or small groups of individuals. To be successful in life, Harry feels that being an excellent communicator...

On her sultry and soulful debut EP What We Had, Rebecca draws from a fresh whirlwind of classic and contemporary influences. With every swaying breeze of her distinctive voice, the multi-talented artist makes each track an opportunity to dream, love and reminisce wistfully about beautiful times gone by. She weaves this laid back magic over old school soul.Renowned producer Jason Miles adds his retro sounds on the Fender Rhodes, Vox Continental and Wurlitzer. “I really appreciate the opportunity to work with Jason and so many incredible musicians in making the dream of recording my first full-fledged project. Their incredible musicianship and craftsmanship inspired me every time I was in the studio.” After opening the EP with a dreamy and sensual twist on Hoagy Carmichael’s rarely covered gem “Winter Moon,” Rebecca keeps the sense of traveling nostalgia going with “What We Had.” This lush and graceful look back at a joyful romance was penned by Rebecca, her father Dennis and guitarist Jonah Prendergast. Rebecca and Dennis also co-wrote the set’s other original “Feel Alive,” a charming declaration of love and how it changes the heart. Also included on the EP is Rebecca’s 2016 single of "Jet Samba,” marking the first time legendary Brazilian composer Marcos Valle’s 2005 instrumental hit was recorded as a vocal. The track received a 4 star review in the January issue of the United Kingdom's premier jazz publication, Jazz Journal. "Angel's vocal and her band's combined musicality masters the jazz samba and pop fusions perfectly…An expressive EP taster.”-Jason Balzarano “Whether I’m performing live or recording, I’ve always been driven by my desire to evoke a meaningful emotional response.It’s all about connecting with people and bringing them together to make them feel they’re not alone. Music has always been part of how I think and do things in my life, and moving forward, I simply want to touch these audiences with the stories I tell.” Paving the way for Rebecca’s emergence as an artist in her own right, the 22-year old singer performed gigswith her father’s band at NYC hotspots including The Iridium,The Metropolitan Room and Café Noctambulo. “My dad has had a huge impact on my taste musically. Growing up he would play Peggy Lee, Louis Armstrong, Ella Fitzgerald, Elvis and the Beatles on my car rides to school. I loved it all.” Rebecca recently graduated with a degree in Vocal Jazz Studies from Ithaca College. She credits her immersive studies withgiving her the practical skills to develop her individually inspired style. A production of LIU Public Radio. Visit us at WCWP.org

On her sultry and soulful debut EP What We Had, Rebecca draws from a fresh whirlwind of classic and contemporary influences.With every swaying breeze of her distinctive voice, the multi-talented artist makes each track an opportunity to dream, love and reminisce wistfully about beautiful times gone by. She weaves this laid back magic over old school soul.Renowned producer Jason Miles adds his retro sounds on the Fender Rhodes, Vox Continental and Wurlitzer. “I really appreciate the opportunity to work with Jason and so many incredible musicians in making the dream of recording my first full-fledged project. Their incredible musicianship and craftsmanship inspired me every time I was in the studio.”After opening the EP with a dreamy and sensual twist on Hoagy Carmichael’s rarely covered gem “Winter Moon,” Rebecca keeps the sense of traveling nostalgia going with “What We Had.” This lush and graceful look back at a joyful romance was penned by Rebecca, her father Dennis and guitarist Jonah Prendergast. Rebecca and Dennis also co-wrote the set’s other original “Feel Alive,” a charming declaration of love and how it changes the heart. Also included on the EP is Rebecca’s 2016 single of "Jet Samba,” marking the first time legendary Brazilian composer Marcos Valle’s 2005 instrumental hit was recorded as a vocal. The track received a 4 star review in the January issue of the United Kingdom's premier jazz publication, Jazz Journal. "Angel's vocal and her band's combined musicality masters the jazz samba and pop fusions perfectly…An expressive EP taster.”-Jason Balzarano“Whether I’m performing live or recording, I’ve always been driven by my desire to evoke a meaningful emotional response.It’s all about connecting with people and bringing them together to make them feel they’re not alone. Music has always been part of how I think and do things in my life, and moving forward, I simply want to touch these audiences with the stories I tell.”Paving the way for Rebecca’s emergence as an artist in her own right, the 22-year old singer performed gigswith her father’s band at NYC hotspots including The Iridium,The Metropolitan Room and Café Noctambulo. “My dad has had a huge impact on my taste musically. Growing up he would play Peggy Lee, Louis Armstrong, Ella Fitzgerald, Elvis and the Beatles on my car rides to school. I loved it all.”Rebecca recently graduated with a degree in Vocal Jazz Studies from Ithaca College. She credits her immersive studies withgiving her the practical skills to develop her individually inspired style.A production of LIU Public Radio. Visit us at WCWP.org

With a recording career that has continued to grow since the 1970s, Jim's songs have been recorded by artists as diverse as Mary Travers and Elmo (from Sesame Street)Jim joined the Navy in 1963. In 1968, he moved to New York City and started playing the coffeehouse circuit. He joined a band called The Good Earth.When Kama Sutra/Buddha records released "Songman" in 1971, The songs from "Songman" received steady airplay on WNEW-FM. "Simple Song" became an anthem for many listeners looking for some healing and gentleness.Jim’s second album "You'll Never Be Lonely with Me" followed the same year and produced some of Jim's most memorable songs. Soon after, Terry Cashman and Tommy West were brought in to produce Jim’s third album. Cashman and West had recently been very successful producing Jim Croce’s hit records. Jim got a new record deal with RCA and they were off and running.The resulting album, simply titled "Jim Dawson", is one of the classic albums in pop music history. Great songs, great singing, great production. The songs from this album still bring cheers at Jim's shows and you can always see lot's of fans singing along.During this time, Jim's popularity continued to grow and he sold out shows at the Bitter End, My Father’s Place and the Schaefer Music Festival in the NYC area."Elephants in the Rain" was Jim’s fourth album (second on RCA) and was again produced by Cashman and West. A worthy follow up to the "Jim Dawson" album, "Elephants" introduced great new JD songs like "Rainy Sunday" that fans still request today.Today, Jim is performing regularly in the NYC area.A production of LIU Public Radio. Visit us at WCWP.org

With a recording career that has continued to grow since the 1970s, Jim's songs have been recorded by artists as diverse as Mary Travers and Elmo (from Sesame Street) Jim joined the Navy in 1963. In 1968, he moved to New York City and started playing the coffeehouse circuit. He joined a band called The Good Earth. When Kama Sutra/Buddha records released "Songman" in 1971, The songs from "Songman" received steady airplay on WNEW-FM. "Simple Song" became an anthem for many listeners looking for some healing and gentleness. Jim’s second album "You'll Never Be Lonely with Me" followed the same year and produced some of Jim's most memorable songs. Soon after, Terry Cashman and Tommy West were brought in to produce Jim’s third album. Cashman and West had recently been very successful producing Jim Croce’s hit records. Jim got a new record deal with RCA and they were off and running. The resulting album, simply titled "Jim Dawson", is one of the classic albums in pop music history. Great songs, great singing, great production. The songs from this album still bring cheers at Jim's shows and you can always see lot's of fans singing along. During this time, Jim's popularity continued to grow and he sold out shows at the Bitter End, My Father’s Place and the Schaefer Music Festival in the NYC area. "Elephants in the Rain" was Jim’s fourth album (second on RCA) and was again produced by Cashman and West. A worthy follow up to the "Jim Dawson" album, "Elephants" introduced great new JD songs like "Rainy Sunday" that fans still request today. Today, Jim is performing regularly in the NYC area. A production of LIU Public Radio. Visit us at WCWP.org

With a recording career that has continued to grow since the 1970s, Jim's songs have been recorded by artists as diverse as Mary Travers and Elmo (from Sesame Street) Jim joined the Navy in 1963. In 1968, he moved to New York City and started playing the coffeehouse circuit. He joined a band called The Good Earth. When Kama Sutra/Buddha records released "Songman" in 1971, The songs from "Songman" received steady airplay on WNEW-FM. "Simple Song" became an anthem for many listeners looking for some healing and gentleness. Jim’s second album "You'll Never Be Lonely with Me" followed the same year and produced some of Jim's most memorable songs. Soon after, Terry Cashman and Tommy West were brought in to produce Jim’s third album. Cashman and West had recently been very successful producing Jim Croce’s hit records. Jim got a new record deal with RCA and they were off and running. The resulting album, simply titled "Jim Dawson", is one of the classic albums in pop music history. Great songs, great singing, great production. The songs from this album still bring cheers at Jim's shows and you can always see lot's of fans singing along. During this time, Jim's popularity continued to grow and he sold out shows at the Bitter End, My Father’s Place and the Schaefer Music Festival in the NYC area. "Elephants in the Rain" was Jim’s fourth album (second on RCA) and was again produced by Cashman and West. A worthy follow up to the "Jim Dawson" album, "Elephants" introduced great new JD songs like "Rainy Sunday" that fans still request today. Today, Jim is performing regularly in the NYC area.

Jim Dawson, Owner of Synergy Sign & Graphics. He describes himself as the creative director. In this episode you will learn: • Not everyone has the same goals, personality or acts like you. • Find people who are better than you and ask them for advice. • If you want to be an entrepreneur, you must work hard. • The best thing you can do is when you fail, learn from that failure and move forward. • Reminder that on social media you only see the highlights. The successes. Find Jim at: http://www.synergysign.com/

Jim Dawson is the owner of Synergy Sign & Graphics in Strasburg, OH.He's also a co-organizer of the 2019 Sign Invitational , hosted at the Signs of the Times booth (#2135) at the upcoming ISA Sign Expo.Support the show (http://signsofthetimes.com)

Today's program features tuneage from Chicago, Santana, Malo, Dire Straits, Marc Cohn, Danny & Dusty, Jan & Dean, Cleftones, The Regents, Paul Simon, B52's, Dick Dale & The Deltones, The Ventures, Randy Newman, Alan Price Set, Youngbloods, Lovin' Spoonful, Beatles, Chuck Berry, Rolling Stones, Bee Gees, Genesis, Queen, U2, Donovan, Bob Dylan, Jefferson Airplane, Gordon Lightfoot, Jim Dawson, Electric Light Orchestra, David Bowie, Mott The Hoople, Neil Young, America, Loggins & Messina, Tom Petty, Steely Dan, Stanley Clarke, Jean Luc Ponty, Soft machine, Steve Miller Band and The Moody Blues.

South Harrison travels to Moorefield looking for their second win. In order for that to happen they must be able to stop a potent Yellow Jacket offense that is spread to run. Interviews with Jaren Robinson, Jim Dawson, Chris Underwood, Brett Hathaway, and Brent Barnette.

 :arrow:  :arrow: The Real Meaning of Real Mentors Interview with Jim Dawson on the Rich Hart Show Jim Dawson / ADI Performance / ADI Marketing Jim is the CEO of ADI Marketing, a B2B sales support business. For over two decades ADI Marketing has been placing salespeople in front of the decision makers they want to meet. Jim feels strongly that prospecting and selling require two different skill sets. In addition, wouldn't you or your salespeople's time be better spent in front of the decision maker rather than chasing them down? ADI Marketing services have been used from Fortune 100 companies all the way to single entrepreneurs.   www.amarketing.com He is the author of “101 Speaking Nuggets” (2016), “101 Prospecting Nuggets” (2009) and co-author of “Real World Customer Service Strategies That Work” (2004) and has contributed to nearly 200 business and trade journals, including Job Training & Placement Report, Start Your Own Business, American Management Association, Balance Magazine, Association News, Business Credit, Connections Magazine, Insurance Insight, The Office Professional, The Customer-Service Advantage and Drake Business Review. Jim is the master facilitator ADI Performance, an executive training division of ADI Marketing. Over the last thirty years Jim has dedicated himself to developing and delivering training that acts as a catalyst, unleashing individual potential. Crafting a message that engages and motivates individuals to think, and, when people think, behavioral change happens. Popular with many different audiences, Jim's life-changing programs have been delivered to thousands of participants. He is a speaker, corporate trainer/facilitator, columnist and author. www.adiperformance.com Jim's education:  BS in Wildlife Biology from the University of Vermont, 1978.  MBA in Informational Technology from Fairleigh Dickinson University, 1982.  Certified Professional Development Trainer, The Chauncey Group International, Ltd. 1998  Leadership Education: An Advanced Program for Trainers, Educators and Consultants – J F Kennedy School of Government at Harvard University, Cambridge, MA ▪ May 2001 Jim served in the USMC and is a disabled combat veteran from Viet Nam. For as long has he can remember, he has been intrigued about the effectiveness of communications. In his opinion one of the most effective ways of practicing one's communication skills is through “Improv.” He is currently active in the following organizations:  Georgia ForestWatch, Board Member  Finnish American Chamber of Commerce, Past President  Toastmasters International, Past District Governor for the State of Georgia, Rank #1 in the World under his leadership  Southern Order of Storytellers & Roswell Ramble Cluster Group  Roswell Photographic Society  Chattahoochee Nature Center Marketing… Your Website and How People can contact your team for services… Topic:  The Real Meaning of Real Mentors in today's Business World… and why they are so crucial to the success of our business today… TOPIC BULLETS: 1) Why Mentors… the course of Successful People using Mentors and the realization that we can't do it alone… 2) Differences between Mentors, Coaches, (Trainers, Instructors and Facilitators) 3) Who is the Right Person for the Job… and how we go about finding a mentor that will add to the value proposition of your Business and Professional Goals going forward. ADI Performance and ADI MARKETING 1) ADI Performance- Provokes Thought and Enhances Personal Performance in Business… Explanation & Detail 2) ADI Marketing – Provides Decision Makers Axis to Business Opportunity … Explanation & Detail. SHOWS YOU HOW TO DO IT!!! More about the show, host and sponsors: Show Host: Rich Hart Rich Hart Show Mission: "Bringing the World of Business Closer to You." Format: Business Talk with In Studio Guests! Interviewing Real Estate & Finance Thought Leaders. Broadcasting LIVE from Pro Business Channel Studios in Atlanta

Today's program features one of the most innovative and talented guitarists of our generation, Pat Metheny. Additional tuneage from Fleetwood Mac, Robin Trower, Stevie Ray Vaughn, Savoy Brown, Rolling Stones, Led Zeppelin, Robert Plant, Free, Jeff Buckley, T. Rex, Paul Butterfields Better Days, Grateful Dead, The Band, Nilsson, Donovan, Rotary Connection, Roxy Music, Doors, Jim Dawson, James Taylor, Elton John, David Crosby, Dan Fogelberg, Crosby Stills & Nash, Ahmad Jamal, Boz Scaggs & The Beatles.

It is a lodestar for your life: the very first time you stepped on a squash court. Sometimes it was a magical moment; other times an ordinary moment, just something you did. Looking back, though, it is when your life changed. Guests include Ted Price, Demer Holleran, Larry Sconzo, Jack Bickel, Rich Wade, Bart McGuire, Matt McAndrew, Kat Grant, Leo Pierce, Nick & Tom Post, Sam Howe, Jim Dawson, Jeff Stanley, Alvin Wolff and Molly Pierce.

In our third episode in our series that looks at best wins and worst losses, OTG dwells on something squash players vividly remember: match points. Miraculous comebacks, stunning collapses, whether in a national championship, a club tournament or a C league match, these are moments they've never forgotten. And neither will you. Guests include Andres Vargas, Bart McGuire, Preston Quick, Jim Dawson, Matthew McAndrew and Larry Sconzo.

You’ve seen the Lincoln Memorial in Washington. Perhaps you’ve visited. But did you know that there is an entire university that was built in memory of Abraham Lincoln? It’s called, appropriately enough, Lincoln Memorial University, and the story of how it came about is fascinating. We talk with Jim Dawson, LMU’s President, and Gary Wade, the Dean of the Duncan School of Law at LMU, all about the university’s history, it’s mission, and where it’s going in the future. And we also note that LMU's law school has recently added a new faculty member -- someone you might know.

The Masters kick off their month dedicated to Comic-Con by doing something a little bit different. They bring some new and noteworthy elements, and finish up the live episode record with four guests—each bringing their own perspective on convention life. Carlos Gomez, Nate Bear, Jim Dawson, & Doc Reed.

Join us this week as we talk with historian Jim Dawson about his book “Los Angeles’s Bunker Hill: Pulp Fiction’s Mean Streets and Film Noir’sContinue Reading

Please click on the POD button to listen to the latest Atlanta Business Radio  show podcast broadcasting live each Wednesday at 10am EDT from Atlanta, GA, USA.   Atlanta Business Radio is sponsored by Fast Pitch! Networking - a one-stop shop for networking and marketing your business online and offline. Please go to their website www.fastpitchnetworking.com. When you sign up, please mention you were referred by Lee Kantor. That will help the show! Thanks. By the way Amy and I have our first Atlanta Fast Pitch Networking Event of 2008 at McCormick & Schmick's Seafood Restaurant - Dunwoody on January 16 2008 from 5pm-7pm. RSVP by CLICKING HEREHere's how to listen to the podcast of our show. First click on the title of the show you are interested in. Then there should be a player in the upper right hand corner of the screen. Now just press play and the show you chose should start playing. You can also download the show to listen on your mp3 player. We are now available on iTunes, click this link and you can find all our past shows. Press SUBSCRIBE and you will automatically get the latest show when you sync your iPod to your computer.Remember if you want a pretty comprehensive listing of all kinds of Atlanta Events including Business Networking events please check out www.AtlantaEvent.com.  This morning we had on Brian Patrick Cork with brian cork HUMAN CAPITAL. Brian has been a highly successful executive and entrepreneur; is a seasoned public speaker; Professional Athlete; and, an accomplished Executive Recruiter and Business Coach. He has raised over $500 million dollars in private placement capital for a wide array of companies across every industry; recruited and counseled hundreds of executives and other decision-makers; and, has actively participated in building dozens of successful organizations.As an Executive Recruiter, Business Coach, and "Trusted Adviser" Brian Cork is a vital resource for decision-makers in terms of making better decisions. On any given day, Brian Cork speaks with and shares ideas with people ranging from Politicians and Educators to Fortune 50 Executives and Entrepreneurs. His Executive and Business Coaching Clients include top executives in Fortune 50 companies to professionals in transition.Brian also has a Personal BLOG - The Unsinkable Brian Cork  His business business BLOG can be found here at - "The Human Capital Blog" and he is currently writing his first books entitled "Dear God: I am Dancing In My Head", "This Would Be Jefferson's View", and "The CEO Handbook".His company website is: www.bchcroi.com/We led off the show with Jim Dawson the Managing Partner with ADI Performance. Jim is a recognized expert in the area of human functioning in the workplace. He is a speaker, corporate trainer/facilitator, columnist, and author. As a presenter/speaker, he has addressed and impactedthe lives of thousands of people and achieved impressive results for his clients. Working with clients from a variety of industries and roles, Jim easilycreates an energized learning environment that captivates audiences,provokes thought, and inspires action. He is dedicated to helping everyclient realize a greater sense of self-expectation and new levels ofperformance that lead to expanded career options and a more satisfyingwork/life balance. Over the last twenty years Jim has dedicated himself todeveloping and delivering training that acts as a catalyst, unleashingindividual potential. Jim is a co-author of “Real World Customer Service Strategies That Work,? (Insight Publishing Company, 2004), and has contributed to nearly 200 business and trade journals. You can learn more about him and his company at their website www.adiperformance.com.And our last guest was Melissa Cooper with Mail Sort Incorporated. Mail Sort is a full service mailing and premium incentive company. They are based in a 65,000 sq ft building in Duluth, GA and service everyone from Fortune 500 companies to individual entrepreneurs. For more information please go to their website www.mailsortinc.comAlso if you know of a business in Atlanta that we should know about please email Amy Otto at Amy @ atlantabusinessradio.com and we will try and get them on the show.